A thousand miles up the Nile

by Amelia B. Edwards

And now the towers that we had first seen as we sailed by in the morning rose straight before us, magnificent in ruin, glittering to the sun, and relieved in creamy light against blue depths of sky. One was nearly perfect; the other, shattered as if by the shock of an earthquake, was still so lofty than an Arab clambering from block to block midway of its vast height looked no bigger than a squirrel.

On the threshold of this tremendous portal we again dismounted. Shapeless crude-brick mounds, marking the limits of the ancient wall of circuit, reached far away on either side. An immense perspective of pillars and pylons leading up to a very distant obelisk opened out before us. We went in, the great walls towering up like cliffs above our heads, and entered the first court. Here, in the midst of a large quadrangle open to the sky, stands a solitary column, the last of a central avenue of twelve, some of which, disjointed by the shock, lie just as they fell, like skeletons of vertebrate monsters left stranded by the flood.

Crossing this court in the glowing sunlight, we came to a mighty doorway between two more propylons—the doorway splendid with colored bas-reliefs; the propylons mere cataracts of fallen blocks piled up to right and left in grand confusion. The cornice of the doorway is gone. Only a jutting fragment of the lintel stone remains. That stone, when perfect, measured forty feet and ten inches across. The doorway must have been full a hundred feet in height.

We went on. Leaving to the right a mutilated colossus engraven on arm and breast with the cartouche of Rameses II, we crossed the shade upon the threshold and passed into the famous Hypostyle Hall of Seti I.

It is a place that has been much written about and often painted; but of which no writing and no art can convey more than a dwarfed and pallid impression. To describe it, in the sense of building up a recognizable image by means of words, is impossible. The scale is too vast; the effect too tremendous; the sense of one’s own dumbness, and littleness, and incapacity, too complete and crushing. It is a place that strikes you into silence; that empties you, as it were, not only of words but of ideas. Nor is this a first effect only. Later in the year, when we came back down the river and moored close by, and spent long days among the ruins, I found I never had a word to say in the great hall. Others might measure the girth of those tremendous columns; others might climb hither and thither, and find out points of view, and test the accuracy of Wilkinson and Mariette; but I could only look and be silent.

Yet to look is something, if one can but succeed in remembering; and the great hall of Karnak is photographed in some dark corner of my brain for as long as I have memory. I shut my eyes, and see it as if I were there—not all at once, as in a picture; but bit by bit, as the eye takes note of large objects and travels over an extended field of vision. I stand once more among those mighty columns, which radiate into avenues from whatever point one takes them. I see them swathed in coiled shadows and broad bands of light. I see them sculptured and painted with shapes of gods and kings, with blazonings of royal names, with sacrificial altars, and forms of sacred beasts, and emblems of wisdom and truth. The shafts of these columns are enormous. I stand at the foot of one—or of what seems to be the foot; for the original pavement lies buried seven feet below. Six men standing with extended arms, finger-tip to finger-tip, could barely span it round. It casts a shadow twelve feet in breadth—such a shadow as might be cast by a tower. The capital that juts out so high above my head looks as if it might have been placed there to support the heavens. It is carved in the semblance of a full-blown lotus, and glows with undying colors—colors that are still fresh, though laid on by hands that have been dust these three thousand years and more. It would take not six men, but a dozen, to measure round the curved lip of that stupendous lily.

Such are the twelve central columns. The rest (one hundred and twenty-two in number) are gigantic, too, but smaller. Of the roof they once supported, only the beams remain. Those beams are stones—huge monoliths[41] carved and painted, bridging the space from pillar to pillar, and patterning the trodden soil with bands of shadow.

Looking up and down the central avenue, we see at the one end a flame-like obelisk; at the other, a solitary palm against a background of glowing mountain. To right, to left, showing transversely through long files of columns, we catch glimpses of colossal bas-reliefs lining the roofless walls in every direction. The king, as usual, figures in every group, and performs the customary acts of worship. The gods receive and approve him. Half in light, half in shadow, these slender, fantastic forms stand out sharp and clear and colorless; each figure some eighteen or twenty feet in height. They could scarcely have looked more weird when the great roof was in its place and perpetual twilight reigned. But it is difficult to imagine the roof on and the sky shut out. It all looks right as it is; and one feels, somehow, that such columns should have nothing between them and the infinite blue depths of heaven.

The great central avenue was, however, sufficiently lighted by means of a double row of clerestory windows, some of which are yet standing. Certain writers have suggested that they may have been glazed; but this seems improbable for two reasons. Firstly, because one or two of these huge window-frames yet contain the solid stone gratings which in the present instance seem to have done duty for a translucent material; and, secondly, because we have no evidence to show that the early Egyptians, though familiar since the days of Cheops with the use of the blow-pipe, ever made glass in sheets, or introduced it in this way into their buildings.

How often has it been written, and how often must it be repeated, that the great hall at Karnak is the noblest architectural work ever designed and executed by human hands? One writer tells us that it covers four times the area occupied by the cathedral of Nôtre Dame in Paris. Another measures it against St. Peter’s. All admit their inability to describe it; yet all attempt the description. To convey a concrete image of the place to one who has not seen it, is, however, as I have already said, impossible. If it could be likened to this place or that, the task would not be so difficult; but there is, in truth, no building in the wide world to compare with it. The pyramids are more stupendous. The colosseum covers more ground. The parthenon is more beautiful. Yet in nobility of conception, in vastness of detail, in majesty of the highest order, the hall of pillars exceeds them every one. This doorway, these columns, are the wonder of the world. How was that lintel-stone raised? How were these capitals lifted? Entering among those mighty pillars, says a recent observer, “you feel that you have shrunk to the dimensions and feebleness of a fly.” But I think you feel more than that. You are stupefied by the thought of the mighty men who made them. You say to yourself: “There were indeed giants in those days.”